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Concert Program Cover

Third Concert of the 78th Season

 

Sunday, March 12th, 2017
Honeywell Center
Scott Humphries, Conductor

  Overture to Nabucco Giuseppe Verdi  
       
  Ein deutsches Requiem, Op. 45 (A German Requiem) Johannes Brahms  
  Shelley Ploss, soprano
Jeremiah Sanders, baritone
Manchester Symphony Chorus
A Cappella Choir
Debra Lynn, conductor
 
 

I. Chorus
II. Chorus
III. Baritone solo and chorus
IV. Chorus
V. Soprano solo and chorus
VI. Baritone solo and chorus
VII. Chorus

 
       
       
 

The Adams Program Notes by James R. C. Adams

 
  Overture to Nabucco Giuseppe Verdi
(1813-1901)
 
 

"Nabucco" is known in English as Nebuchadnezzar. The libretto is based on biblical accounts in Jeremiah and the Book of Daniel. The opera was first performed at La Scala di Milano in 1842. This opera is considered the launching of Verdi's career, although it is not the first of his operas. His earlier works were ridiculed by a number of critics who considered Verdi un-tutored and inexperienced. Even Nabucco suffered some pans, but was nonetheless very successful with the public.

Of particular note (pun intended) is the aria, va pensiero sull'ali dorate, meaning "Go, thought, on golden wings" which can be heard in this overture. It is also known as the Chorus of the Hebrew Slaves and is the Hebrew slaves' lament over the loss of their homeland.

The opera is the story of the subjection of the Jews by the Babylonians.


 
  Ein deutsches Requiem, Op. 45 (A German Requiem) Johannes Brahms
(1833-1897)
 
 

A Requiem, as many of you know, is a Mass for the Dead, and it is also known by that term. The Mass typically consists of two elements: the Ordinary and the Proper. All masses consist of the Ordinary, with five parts, Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. For every day, there are also chants in the Proper, that is, chants for specific reasons. There are masses for every Sunday in the church calendar, but the Requiem is the only Mass which can be performed on any day of the year, for obvious reasons. All five parts of the Ordinary are sung in Latin, except for the Kyrie which is sung in Greek.

This Requiem is not like the standard Catholic Mass. According to some biographers, Brahms was not known to believe in the life hereafter. His mass was to comfort the living, not to mourn for the dead or to assert their continued life in Heaven. Brahms had thought of writing a requiem for some time, possibly at the time of the death of his friend, Schumann, in 1856. He worked on the Requiem from 1857 to 1868. Perhaps the death of his mother in 1865 prodded him to finish the work.

Unlike a typical mass, consisting of five sections, Brahms' consists of seven parts sung in German rather than in Latin. His argument was that as he had written it to console the living, in their grief, he wanted it to be understood by everyone. He chose the text from Martin Luther's translation of the Bible, both Old and New Testaments.

The German Requiem broke with tradition in a number of ways. In addition to being in German, it combines a mixed chorus, solo voices, and full orchestra. The New Grove Dictionary of Music and Musicians describes this work as "not only Brahms' greatest vocal work, but also the central work of his career."

 
  I. Chorus
(Matthew 5:4, Psalm 126: 5-6

Selig sind, die da Leid tragen,
denn sie sollen getröstet werden.
Die mit Tränen säen,
werden mit Freuden ernten.
Sie gehen ihn und weinen,
und tragen edlen Samen,
und kommen mit Freuden
und bringen ihre Garben.
 



Blessed are those who mourn,
for they shall be comforted.
Those who sow with tears
will reap with joy.
They go forth and weep,
bearing precious seeds,
and return rejoicing,
bringing their sheaves.
 
  II. Chorus
(I Peter 1:24; James 5:7, 8a; I Peter 1:25; Isaiah 35:10)

Denn alles Fleisch es ist wie Gras
und alle Herrlichkeit des Menschen
wie des Grases Blumen.
Das Gras ist verdorret
und die Blume abgefallen.
So seid nun geduldig, lieben Brüder,
bis auf die Zukunft des herrn.
Siehe, ein Ackermann wartet
auf die köstliche Fruncht der Erde
und ist geduldig daruber, bis er empfahe
den Morgenregen und Abendregen.
Aber des Herrn Wort bleibet in Ewigkeit.
Die Erlöseten des Herrn werden wiederkommen,
und gen Zion kommen mit Jauchzen;
ewige Freude wird über ihrem Haupte sein;
Freude un Womme werden sie ergreifen
und Schmerz und Seufzen wird weg müssen.
 



For all flesh is like the grass,
and all the magnificence of mortals
is like the flowers of the grass.
The grass has withered,
and the flower has fallen away.
So now be patient, dear friends,
until the life hereafter.
Behold, a husbandman waits
for the precious fruit of the earth
and is patient until he receives
the early and later rain.
But the word of the Lord endures forever.
The redeemed of the Lord will return
and come to Zion with shouts of joy;
eternal joy will be upon their heads,
joy and delight will overcome them
and sorrow and sighing will have to depart.
 
  III. Baritone Solo and Chorus
(Psalm 39:4-7; Song of Solomon 3:1)

Herr, lehre doch mich,
daß ein Ende mit mir haben muß,
und mein Leben ein Ziel hat,
und ich davon muß.
Siehe, meine Tage sind
Einer Hand breit vor dir,
und mein Leben ist wie nichts vor dir.
Ach, wie gar nichts sind alle Menschen,
die doch so sicher leben.
Sie gehen daher wie ein Schemen,
und machen ihnen viel vergebliche Unruhe;
sie sammeln und wissen nicht
we es kreigen wird.
Nun Herr, wes soll ich mich trösten?
Ich hoffe auf dich.
Der Gerechten Seelen sind in Gottes Hand,
und keine Qual rühret sie an.
 



Lord, teach me
that I must have an end,
and that my life has an end,
and that I must pass away.
Behold, my days here are but a hand-
breadth before you,
and my life is nothing before you.
Ah, how insignificant all mortals are,
and yet they live so confidently.
They go about like a phantom
and create so much vain disquiet,
they gather things and know not
who will receive them.
Now, Lord, in whom shall I find consolation?
I trust in you.
The souls of the righteous are in God's hands,
and no torment touches them.
 
  IV. Chorus
(Psalm 84:1, 2, 4)

Wie lieblich sind deine Wohnungen,
Herr Zebaoth!
Meine Seele verlanget und sehnet sich
nach den Vorhöfen des Herrn;
mein Leib und Seele freuen sich
in dem lebendigen Gott.
Wohl denen, die in deinem Hause wohnen,
die loben dich immerdar.
 



How lovely are your dwellings,
O lord of Hosts!
My soul yearns and longs
for the courts of the Lord;
my body and soul rejoice
in the living God.
Blessed are those who dwell in your house,
those who praise you forever more.
 
  V. Soprano Solo and Chorus
(John 16:22, Isaiah 66:13; Ecclesiastes 51:35)

Ihr habt nun Traurigkeit;
aber ich will euch wieder sehen
und euer Herz soll sich freuen
und eure Freude soll niemand von euch nehmen.
Sehet mich an:
Ich habe eine kleine Zeit Mühe und Arbeit gehabt,
und habe großen Trost funden.
Ich will euch trösten,
Wie einen seine mutter tröstet.
 



You now have sorrow;
but I want to see you again,
and your heart shall rejoice,
and no one shall take your joy from you.
Look upon me:
I have toiled and labored a brief time,
and now I have found great comfort.
I want to comfort you,
as one is comforted by his mother.
 
  VI. Chorus and Baritone Solo
(Hebrews 13:14; I Corinthians 15:51-52, 54-55, Revelation 4:11)

Denn wir haben hie kleine bleibende Statt,
sondern die zukünftige suchen wir.
Siehe, ich sage euch ein Geheimnis:
Wir werden nich all entchlafe,
wir werden aber alle verwandelt werden;
und dasselbige plötzlich in einem Augenblick
zu der Zeit der letzen Posaune.
Denn es wird die Posaune schallen
und die Toten werden auferstehen unverweslich,
und wir werden verwandelt werden.
Dann wird erfullet werden
das Wort, das geschrieben steht:
Der Tod ist verschulngen in den Sieg.
Tod, wo ist dein Stachel?
Hölle, wo ist dein Sieg?
Herr, du bist wurdig zu nehmen
Preis und Ehre und Kraft,
denn du hast alle dinge geschaffen,
und durch deinen Willen haben sie
das Wesen und sind geschaffen.
 



For here we have no permanent place,
but we seek the one to come.
Behold, I tell you a mystery:
we will not all die,
but we will all be transformed,
and transformed suddenly, in an instant,
at the time of the last trumpet.
For the trumpet will sound,
and the dead will rise up incorruptible,
and we will be transformed.
Then will be fulfilled
the word that is written:
"Death is swallowed up in victory.
Death, where is your sting?
Hell, where is your victory?"
Lord, you are worthy to receive
praise and honor and might,
for you have created all things,
and by your will they have
their being and are created.
 
  VII. Chorus
(Revelation 14:13)

Selig sind die Toten,
die in dem Herren sterben
von nun an.
Ja, der Geist spricht,
daß sie ruhen von ihrer Arbeit,
denn ihre Werke folgen ihnen nach.



Blessed are the dead
who die in the Lord
from now on.
Yea, the Spirit says
that they may rest from their labor,
for their works follow after them.
 
 
 
       
 

Manchester Symphony Orchestra Personnel

 
Violin I
Elizabeth Smith, Concertmaster
Kayla Michaels +^
Thomas Dean, Student concertmaster +^
Rachel Felver
Kristin Westover
Pablo Vasquez
Ilona Orban
Linda Kummernuss

Violin II
Joyce Dubach *
Hailey Schneider +
Paula Merriman
Alexandria Roskos +^
Emily Lynn +
Tiffany Hanna +
Kristine Papillon
Christian Papillon
Mimi Papillon

Viola
Margaret Sklenar *
Derek Reeves
Olivia Jenks +^
Tyler Mead +
Wendy Sandoval
Josie Burton

Cello
Robert Lynn *
Michael Rueff +^
Wallace Dubach
Chris Minning
AJ Jabarin

Bass
Darrel Fiene *
Katie Huddleston
Rod Sroufe

Piccolo/Flute
Kathy Davis *
Kathy Urbani
Laura Stepanovich +^
Oboe
Goerge Donner *
Nyssa Tierney

Clarinet
Lila D. Hammer *
Mark Huntington

Bassoon
Erich Zummack *
Freddie Lapierre +^
Alex McCrory

Contrabassoon
Alex McCrory

Horn
Christen Adler
John Morse
Matt Weidner
Laura Dickey +^

Trumpet
Steven Hammer *
Mykayla Neilson +^
John Adler

Trombone
Jon Hartman *
Katrina Murray +^
Larry Dockter

Tuba
Jeff Huber

Timpani
David Robbins *

Percussion
David Robbins *
MacKenzi Lowry +^
Mason McBride +

* Denotes principal
+ Denotes MU student
^ Denotes Keister Scholarship recipient
** Denotes assistant principal
       
 

Manchester University A Cappella Choir
and The Manchester Symphony Chorus

 
  Dr. Debra Lynn, conductor
Alan Chambers, rehearsal pianist
Elizabeth Smith, rehearsal pianist
Special thanks to Sabine Thomas for German pronunciations
 
Sopranos
Christine Beery
Courtney Douglas
McKenzie Hare *
Mallory Fletcher
Kathy Fry-Miller
Madi Kaylor
Sarah Kerkes
Sierra Lehman
Shannon Lee
Emily Lynn *
Judy Myers-Walls
Sabine Thomas

Tenors
Ron Finney
Paul Fry-Miller
Nolan McBride
Clayton Marcum *
Andy Rich
Jake Svay *
Jeremy Williams
Preston Wright
Altos
Hayley Cochran
Paige Deal
Katherine Haff
Pat Hoover
Bekah Houff
Kayla Maynard
Mykayla Neilson *
Katie Peden *
Emma Nickel
Tiffany Reith
Lois Snyder
Joy Stiffler
Laura Stone
Janina Traxler

Basses
Daniel Baker
Alan Chambers
Grant Ebert
Kevin Friermood
Matthew Grothouse *
Scott Humphries
Ben Johnson
Michael Rueff *
Orion Toepfer

* denotes section leader
       
 
Shelley PlossShelley Ploss is an American operatic soprano, and graduate of the Jacobs School of Music at Indiana University. Ploss has performed such roles as Mimi in La Boheme, Princess Nicoletta in The Love for Three Oranges (Prokofiev) and the title role in Puccini's Suor Angelica. Recently Ms. Ploss has made a change from lyric soprano to dramatic coloratura, studying such roles as Königin der Nacht in Die Zauberflöte and Konstanze in Die Entführung aus dem Serail.

While at IU, she studied with Metropolitan Opera baritone Timothy Noble, and Distinguished Professor of Voice Scharmal Schrock. Ploss also participated in Opera Workshop under the direction of world-class soprano Carol Vaness, and master classes with Nic Muni, James Marvel, and Virginia Zeani. Ms. Ploss has been a Young Artist with La Musica Lirica, the Charley Creek Vocal Workshop, Opera Maya, and recently was a member of the Marcello Giordani Young Artist Program and the Crested Butte Music Festival. She is currently studying with Lynn Baker and Claudia Waite.

Ms. Ploss is a native of Peru, Indiana, and holds a Bachelor of Arts in Music from Butler University along with her Masters in Music and Performance Diploma from IU.
 
 
Jeremiah SandersJeremiah Marcèle Sanders, baritone, graduated from Manchester University in 2014, with a degree in voice and communications studies. Sanders is currently pursuing a Master of Music degree at Butler University.

In 2016, Jeremiah was awarded an Encouragement Award at the prestigious Metropolitan Opera National Council Vocal Competition. He previously sang in Mexico with the San Miguel Institute of Bel Canto and in France. His previous roles include: the mischievous character Gianni Schicchi in Giacomo Puccini's Gianni Schicci, Aeneas in Dido and Aeneas, Sad in Tori Ovel's Now Boarding, and The Major General in Pirates of Penzance.

He has studied with Kirsten Gunlogson, Thomas Studebaker, and Debra Lynn. His upcoming engagements include St. Peter in Butler Opera Theatre's production of Too Many Sopranos and his graduate voice recital. This summer he will work with Pittsburgh Festival Opera's productions of Richard Strauss' Intermezzo and the world premiere of A Gathering of the Sons. In addition to singing, Jeremiah is passionate about social justice, dance, and travel.